Dear Friends and Colleagues,
In less than two weeks EPCAF will host its first panel at the College Art Association conference in Chicago; the very city where everything started.
Our panel will take place on Friday February 14 from 5:30 to 7:00pm, in Boulevard C, on the 2nd Floor of the Chicago Hilton. It will address a topic that should be of interest to most of us, namely European Postwar and Contemporary Scholarship in a Global Context.
We are delighted that Adrian Duran, Noit Benai, and Benjamin Lima have accepted our invitation to launch the discussion on this important question by sharing their thoughts on the situation in their respective fields. We hope you can join us and take part in the conversation.
This panel will also be the occasion to announce some exciting news about the future of EPCAF, and to celebrate four years of the EPCAF adventure. After the panel, please join us for drinks at the Kitty O’Shea Pub, in the Chicago Hilton (http://www.hiltonchicagohotel.com/restaurants-bars/kitty-o-sheas/)
In the meantime, we wish you all the best for the new semester.
Below you will find our usual lists of announcements.
Catherine Dossin & Victoria H.F. Scott
CALL FOR PAPERS
Second Euroacademia International Conference ‘Identities and Identifications: Politicized Uses of Collective Identities’
Pisa, Italy, 7-8 March 2014
Deadline: Feb 6, 2014
If interested in participating, please send a maximum 300 words abstract together with the details of your affiliation until 6th of February 2014 at firstname.lastname@example.org
For full details of the conference and on-line application please see:
Museums and Photography: Displaying Death Edited Volume
Deadline: Feb 10, 2014
This is an open call for submissions for an edited volume on the ways in which death is displayed in museums through photography. The editors seek submissions that investigate theoretically and/or through specific international case studies the complexities of displaying photographs of death in a museum context. Submissions are expected to contribute to our understanding of the changing role of photography in museums and of the museum’s ethical, pedagogical and political responsibilities for addressing diverse audiences with the display of death through photography.
Please submit an abstract of 300 words and a short biography of no more that 150 words to Elena Stylianou at email@example.com and to Theopisti Stylianou-Lambert at firstname.lastname@example.org by February 10, 2014.
Bodies in Between: Corporeality and Visuality from Historical Avant-garde to Social Media
Conference, 29-31 May 2014
Department of Cinematography and Media, Faculty of Theatre and Television, “Babes-Bolyai” University, Cluj-Napoca, Romania
Deadline: Feb 15, 2014
The conference is an inter-disciplinary forum for academics and practitioners working in the fields or at the intersection of cinema, performing arts, visual arts and media. The conference aims to explore the role of the body in articulating and reflecting the changes in contemporary arts and media practices as well as the theoretical discourses they generate.
In this sense, the body is seen as a discursive field for thinking about the various avatars of the image and visualization process in the contexts of the recent cinematic productions and new media facilities, about the dynamics that confronts the concept of avant-garde and its constant undermining by postmodernism, about the actual dimensions of the dispute between classical theatricality and contemporary performativity, about the intricate relations between authorial discourse and expanded spectatorship, about interactivity as a catalyst for multimediality and remediation, and about the tensions between public space and intimacy when engaging with (social) media environments.
The conference is conceived as a dynamic platform that includes equally panels for the presentation of papers, keynote speeches, round tables and workshops. Thus, the conference provides an excellent opportunity for both theorists and practitioners to disseminate their research output and to showcase their work in a dynamic context that facilitates dialogue, professional exchanges and future collaborations.
Please upload an abstract of no more than 300 words, together with a short bio and author’s affiliation in English or French at: http://teatrutv.ubbcluj.ro/bodiesinbetween
Selected papers will be published in an edited volume and in a special issue of the journal EKPHRASIS. Images, Cinema, Theatre, Media.
EASA-Konferenz: Collaborative place-making between art, qualitative research and politics
Tallinn, (Estonia): July 31 – August 3, 2014
Deadline: Feb 27, 2014
Since its emergence in the late 1960s, “participation” has become a key concept in various fields of social action and cultural production. Our panel focuses on urban development as a field of action, where participatory strategies have gained particular popularity and are employed today on a regular basis – often through collaborations of stakeholders as diverse as public administrations, urban activists, artists, scientists, and local inhabitants.
Critical reflections on the following issues of these prominent, yet ambivalent collaborations between art, qualitative research and politics are invited:
– What distinct models and methods of participation have been developed within and between the particular fields of politics/activism, art and qualitative research in order to involve local residents to participate in urban development processes?
– How do diverging interests and power-relations – with respect to the unequally distributed political, economic, social and cultural capital
– play out between the different actors? What kind of relations are produced for whom and why?
– Who moderates the heterogeneous communication process and who decides, finally, what to do? How is representation negotiated and enacted in the final form/outcome of participatory projects?
– What visual, emotional, symbolic expressions do the different actors create or adopt to produce a feeling of belonging to a place, a group or even movement? What role does art, visual and media culture play as social glue between the often multi-located actors?
– And how do we anthropologists define our multiple encoded roles as “participant observers”, civic participants or even activists within these contexts of both, collaboration and conflict?
Proposals müssen über die EASA Website eingereicht werden:
Nähere Informationen zur EASA 2014:
Thinking with John Berger
A 2-day conference at Cardiff Metropolitan University Cardiff, Wales, UK
4-5 September 2014
Deadline: Mar 1, 2014
John Berger presents a uniquely diverse model of critical artistic and intellectual work. He is, variously, artist (and a philosopher of drawing); art critic/theorist; ‘art geographer’ (Edward Soja); novelist (although preferring to call himself a storyteller); poet and dramatist; film-maker; photographic collaborator; theorist of migration; political activist in the domains of anti-capitalism and human rights.
The conference therefore takes an exploratory approach to the question of how we might, as educators, use, discuss, learn from and continue to develop Berger’s thought. In what ways might that thought help to transform curricula, pedagogy, and our work as writers, artists and teachers? How pertinent is it, for example, to the growing internationalisation of the academy and to questions of global educational citizenship? Or how relevant as a critical resource within the context of a new, corporate and marketised environment in education? Might Berger’s ‘radical humanism’ (Tilda Swinton) help to carve out alternative futures?
Proposals for 20-minute papers are invited. The conference is open to contributors from all subject areas and disciplines, though it is anticipated that it will be of principal appeal to those interested in Berger’s impact upon the following fields: literary studies; visual arts; art history; philosophy; creative writing; film production and education; performance; drawing; photography; cultural geography; critical and cultural theory.
Proposals should be no more than 300 words in length, and should be sent to the conference email address: email@example.com Deadline for proposals: 1 March 2014
The conference website, with information regarding fees, accommodation and logistics, is at http://www.cardiffmet.ac.uk/bergerconference
The Third Annual International Conference in Paragone Studies
18-20 September, 2014
Québec City, Canada
Deadline for applications: April 1, 2014
Papers are invited for The Third Annual International Conference in Paragone Studies, to be held at the Musée des beaux-arts du Québec (Museum of fine arts of Québec: http://www.mnbaq.org/en), just outside of the old quarter of the City of Québec in Canada, and is one of the oldest cities in North America. The conference’s purpose is to support the scholarly investigation of the paragone, or rivalry in the arts, as it has been manifested in all media across history. Studies in all disciplines relevant to the history of competition in the arts, as well as inter-arts rivalry, will be featured. These include art history, visual culture, comparative literature, philosophy, aesthetics, the performing arts, critical theory, communication, cultural studies, linguistics, spoken-word, and musicology, amongst others. For instance, scholars might consider rivalries between individual artists, patrons of the arts, or nationalistic competition, hierarchies of the senses or media in aesthetic theory, arts-related organisations, debates over the superiority of one art versus another, ut pictura poesis and word/image studies, etc. Please note that all conference presenters must have current membership status in the Society for Paragone Studies.
The journal Paragone: Past & Present seeks submissions for its bi-annual issues. The journal is published by the Society for Paragone Studies (an academic association dedicated to furthering study of the history of artistic rivalry) in collaboration with the Flint Institute of Arts. It produces two issues per year in both online and hard copy format. Hard copies may be purchased at a discount to Society members (who may also subscribe to regularly receive hard copies), through the Society website, and is available in online format to all Society members. The journal is an inter-disciplinary journal for post-graduate (post terminal degree) scholars. Graduate students are invited to apply to the journal Paragone: Emerging Scholars, also published by the Society.
Application forms available at: http://blogs.umflint.edu/paragonestudies/
To apply to present a paper: Submit a 300-word abstract using the paper presenter appropriate form on the conference website to firstname.lastname@example.org. Please include a curriculum vitae.
SECAC 2014 Conference
Deadline: April 20, 2014
Call for Papers is now available at:
https://secac.memberclicks.net/assets/documents/secac/conference/2014_secac_call_for_papers.pdf, as well as on the SECAC Conference page: http://www.secollegeart.org/conference
The Art Market Past and Present: Lessons for the Future?
London, October 31, 2014
Deadline: Jun 30, 2014
A one-day conference on relations between the art market in history and the art market today, organized by Sotheby’s Institute of Art – London and The Burlington Magazine, to be held at Sotheby’s Institute of Art – London on Friday 31 October 2014.
The aim of this joint conference is to explore critically what the history of the art market can teach us about the behaviour of the art market today, and vice versa. We hope to bring together historians of the art market working on a wide range of historical periods and places, and utilising varying methodologies, and to engage them in creative dialogue, via thematic groupings, with present-day art market experts of different kinds. We hope that a wide range of expertise and interests will be represented from both the past and the present dimensions of this subject.
Papers engaging with some aspect of these themes should be a maximum of 20 minutes in length. Preference will be given to those which stimulate dialogue and engage with broader topics. Please send enquiries and proposals of no more than 250 words, indicating which session your paper relates to, by 30 June 2014, to email@example.com
Italian and West German Aural & Visual Culture in the 1970s
Deadline: Jun 30, 2014
“Palinsesti” is a peer-review journal dedicated to historical studies on Italian Art since 1960. Its fourth thematic issue is entitled: The Years of Lead: Italian and West German Aural & Visual Culture in the 1970s
The 1970s often appear to be a lost decade. Bracketed on one side by the revolutionary impulses and pluralist art practices of the late 1960s, and on the other by a conservative return to order and the retrenchment of authoritative painting in the 1980s, the 1970s is an era without a clear identity. In both Italy and West Germany, countries whose intellectual and linguistic disparities belie a comparable political fallout after World War II, these years have been retrospectively referred to as “leaden.” Die bleierne Zeit (Anni di Piombo) was the title of a 1981 film by Margarethe von Trotta about far-left German revolutionaries. The phrase was subsequently taken up to represent the preceding decade because it speaks of the continued economic stagnancy in Europe, as well as the devolution of the broad social movements of the 1960s into ever more radical activist groups like the Red Brigades (BR, Brigate Rosse) and the Red Army Faction (RAF, Rote Armee Fraktion). As the stuff of ammunition, lead is also evocative of those high profile acts of public violence that were carried out by such terrorist organizations throughout the 1970s. In art, this same period witnessed the dissolution of collective artistic attitudes like Arte Povera and Fluxus into the disparate orbits of individual careers, and to the re-emergence of expressionist painting as the allegorical figure par excellence of such alienated ambition.
What happened in art and related visual and aural production between the protested 1968 Venice Biennale and that of 1980, in which both Italian and German representatives marshaled a new chapter of painting’s reappearance, this time as neo-expressionist? Is it useful to weigh the cultural production of the decade against the socio-political backdrop?
What do we learn by looking at these two countries together, where similar trajectories can be traced from the idealism of social collectivity to marketable artists and artworks, or from heightened radicalization to political violence? Are the 1970s more than just a stage on which the endgames of modernism are performed?
The on-line journal Palinsesti invites proposals for contributions (max 40,000 characters) that explore the aural and visual culture of these “Years of Lead” in Italy and/or West Germany. For submission instructions, please, sign in at www.palinsesti.net; for other details contact firstname.lastname@example.org
Second Euroacademia International Co
War Graves, War Cemeteries, and Memorial Shrines as a building task (1914 to 1989)
Berlin, 19. – 20.02.2014
Despite the spadework of scholars such as Meinhold Lurz, Monika Kuberek, Joachim Wolschke-Bulmahn, and Christian Fuhrmeister, the analysis of war graves and soldier cemeteries still is a desideratum in the fields of art history and architectural history. Particularly in reference to the centennial of the events of World War I and the concomitant centenary of the Volksbund Deutsche Kriegsgraeberfuersorge e.V. (German War Graves Commission, founded 1919), a critical reflection on the current state of research is essential. The colloquium will discuss this theme from different perspectives and methodical approaches, with a focus on an analysis of memorial architecture as well as the full range of traditional visual and textual sources. The central question is to what extent an approach that is genuinely centered on objects and sources related to soldier graves, collective cemeteries, and war gravesites of the first and second World Wars can contribute to our understanding of the history of war and death in the 20th century.
Other academic fields dealing with this subject area – such as garden history, landscape and open space planning, anthropology and empirical cultural studies as well as military, social and contemporary history – provide important interdisciplinary points of contact for the colloquium. In individual cases a decidedly comparative perspective will be required in order to distinguish the singularities of the semi-governmental German commemoration of the dead from the commemorative architecture of other nations. Finally, given the current tendency towards an increasingly virtual memory culture, the history of the use of these necessarily “uncomfortable” facilities – somewhere between political funerary cult, the right of eternal rest, architectural monument, cultural heritage, and international learning center – must be addressed.
The first part of the colloquium will be hosted by the Institut fuer Kunst- und Bildgeschichte, Humboldt-Universitaet Berlin on February 19th and 20th, 2014. The second part will take place at the Zentralinstitut fuer Kunstgeschichte in Munich on September 11th and 12th, 2014.